In this episode of cinema5D ON THE GO, we talk to cinematographer William Wages ASC about shooting on film vs. digital, light meters, and the Panasonic Lumix line!
William Wages, ASC
For cinematographer William Wages ASC, the main reason for shooting on film has been relegated to getting a certain aesthetic effects, such as achieving a Super 8mm look. In terms of capabilities and image quality, modern cameras far outperform the capabilities of film, which in turn has allowed for the development of a new visual and technical cinematic language. He gives us a few examples of his work in which these advantages have come in handy.
Mr. Wages also tells us about how he uses the Panasonic Lumix line of mirrorless cameras, such as the GH4 or GH5, as viewing devices during location scouts and on set. Rather than using a director’s viewfinder, the portability of these cameras – in addition to their V-Log capabilities and high ISO – allow for a quick visualisation of what the end result could be when planning to shoot with a Panasonic Varicam LT. Of course, the dynamic range may not be the same as the LT, but they certainly have a place in his arsenal for shooting high-end productions.
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In this episode of cinema5D ON THE GO, we chat to William Wages ASC about his experiences with the Panasonic Varicam LT.
William Wages ASC is a respected cinematographer, with experience across a variety of genres, from features to television, including the Spielberg-produced mini-series Into The West. He has won three ASC awards and been nominated for six additional ASC awards and two Emmy awards.
William Wages, ASC
William has recently started using the Panasonic Varicam LT, after having tested against a range of other high-end cinema cameras. In his opinion, the advantages of this camera such as the dual native ISO and extended dynamic range have changed the way he works. Having already shot two TV series and a feature with the camera, he has no intention of returning to the ALEXA any time soon. (Check out our initial commentary of the camera’s release HERE, and the tech-spec rundown HERE).
William explains one of the biggest features of the Panasonic Varicam LT in-depth, namely the dual native ISO. In essence, this offers two ISO settings at which the camera has the least amount of noise: 800 and 5000 ISO. Start increasing the ISO from 800 and you will of course start to see noise. Once you get to 5000 ISO, however, the second native ISO setting kicks in, giving you again the least amount of noise, from which point you can once again increase the ISO.
Another big feature is the camera’s extended dynamic range, which William considers reaches over 16 stops. Both this and the flexibility in ISO settings have resulted in a complete change in William’s lighting package. He goes in depth into his current lighting setup, and how a more sensitive camera can reduce the cost of lighting rentals.
Stay tuned for the next part of our chat with William Wages, ASC, where we discuss how modern cinema cameras compare to film, and the many uses of a Panasonic GH4 in a high-end production.
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Watch previous episodes of ON THE GO (& On the Couch) by clicking here. Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

We wrote about the Manfrotto Nitrotech N8 Lightweight Tripod Head two weeks ago when they first presented this innovative design. The Nitrotech N8 was on display at NAB 2017, and we had a chance to take a closer look with product marketing manager Giuseppe Dilauro.
Manfrotto Nitrotech – A Lightweight Tripod Head for Cinema Cameras
At NAB 2017 we got to see the Manfrotto Nitrotech N8, which is currently the only model of the series. It supports a maximum payload of 8kg, but the special feature is that it can support lightweight cameras as well due to its innovative Nitrogen piston, making a dedicated lightweight tripod for your a7S obsolete. Now you have one lightweight design for all your cinema cameras (up to 8kg) in one package.
The idea is quite convincing as many people shoot both with heavy as well as lightweight cameras nowadays, but can rarely afford two dedicated tripods. The Manfrotto Nitrotech N8 is affordable and can fill this market niche. What more can you ask for?
If this lightweight tripod design is up to the challenges of a regular shooting day is yet to be seen in our upcoming review, but it was certainly a popular product at NAB 2017, attracting the looks of many of the visitors.
The Nitrotech N8 is available now and a version for heavier cameras is already in the works.